Museum of Bath at Work, Julian Road, Bath BA1 2RH

Julie McCalden: Working from Home

Julie McCalden, Working from Home, Installation view

Amid the steel and soot and grease and cogs and belts and tools of the factory, haunts an alien presence. It’s a surreal stage set in the heart of the museum, reconstructing the interior of a working class household in the early twentieth century. Review by Rowan Lear

Further reading +

Castlefield Gallery, 2 Hewitt St, Manchester M15 4GB

Real Painting

Foreground: Simon Callery Wiltshire, Modulor ii, 2010, Background: Adriano Costa, Piece, 2014

This is an exhibition of paintings that exist on their own terms, for their own sake, works that provide a physical presence and don’t just passively sit on a wall to be admired. Review by Tom Emery

Further reading +

Tenderpixel, 8 Cecil Court, London WC2N 4HE

The Infinite Lawn

The Infinite Lawn. Installation View.

'The Infinite Lawn' navigates the ambiguous object of labour via material margins, centralising marginality. James Gormley reviews

Further reading +

Picnic Picnic, 155 John Street, Sheffield S2 4QX

Tuff Crowd

Tuff Crowd, installation view, 2015

Taking its inspiration from the punch-lines and pitfalls of creating entertaining and amusing work, 'Tuff Crowd' invites artists whose practice absorbs and highlights the humour in the act of being an artist, asking the audience to broaden their understanding of what conceptual art can be. Review by Lindsey Mendick

Further reading +

Berloni Gallery, 63 Margaret Street, London W1W 8SW

Ben Woodeson: Obstacle

I love you, I want you, I need you... (Hot for Carl), 2015

Woodeson’s modernism is more hot than cool. Despite employing techniques of repetition and reduction, the work has a striking emotional impact. Not only do we become aware of the materiality of the objects in the space, but of our own flesh. Review by Philomena Epps

Further reading +

Gagosian Gallery, 6-24 Britannia Street London WC1X 9JD

Sprayed

John Chamberlain, Anteambulo Quincunx, 1992

The mixing of contemporary and older works allows for formal cues to take precedent over historical context. These juxtapositions allow for new comparisons to be made. What do Warhol and Latham hold in common? What does Kapoor’s piece suggest about the current status of the medium? Review by Katherine Jackson

Further reading +

Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Jerwood Makers Open

Installation view

Fiona Haggerty explores the potential of artists and makers working within the realms of what has traditionally been termed the applied arts to challenge and redefine this area.

Further reading +

L21, San Martí, 1 Palma de Mallorca 07012, Spain

A Room with a View

A Room with a View, Installation View

Despite its literary counterparts, the title of this exhibition is taken from a Madrid band called A Room with a View (1990-2000). In the same way the group began to distance itself from the premises of hardcore music to explore less related sound modules, these featured artists use photography to rehearse other connected discourses with a language – visual – in continuous transformation.

Further reading +

fiebach minninger, Venloer Str. 26 50672, Cologne, Germany

TRANSITION

TRANSITION, Installation View

The exhibition ‘TRANSITION’ deals with delineating the terms figuration and abstraction that still function as opposing binaries.

Further reading +

British Pavilion, Viale Giardini Pubblici, 30122 Venezia, Italy

Sarah Lucas: I SCREAM DADDIO

Sarah Lucas, I SCREAM DADDIO, Installation View, British Pavilion 2015

The heavily political and theoretical tone of this year’s Biennale makes Lucas’ work seem even brasher and somehow at odds with the other, sometimes earnest and frequently socially engaged, works on display. Review by Will Gresson

Further reading +

Romanian Pavilion, Giardini della Biennale, Sestiere Castello, 30122 Venice

Adrian Ghenie: Darwin’s Room

Adrian Ghenie, Darwin's Room, installation view, 2015

In his solo exhibition ‘Darwin's Room’ presented at Venice, Ghenie intriguingly takes the mode of inhabiting historical characters in order to reflect upon the difficult and often traumatic underpinnings of local histories. Review by Giuseppe Marasco

Further reading +

Park Avenue Armory, 643 Park Avenue, NY 10065

Philippe Parreno: H {N)Y P N(Y} OSIS

Installation view of H {N)Y P N(Y} OSIS at Park Avenue Armory, by Philippe Parreno

This being a trademark Philippe Parreno production, visitors are constantly compelled to experience the physicality of the exhibition and its components, and to cognitively soak in its sounds and images. Review by Arthur Bravo

Further reading +

The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London SE15 4QL

The Spirit of the Staircase

Installation view

The exhibition title derives from a French term conjured up by eighteenth-century art critic Denis Diderot to describe the occasion when a person is left speechless upon hearing something, and only later thinks of a response. Review by Sam Johnson

Further reading +